Exile | Ferreira Gullar, 1930-2016

Anna Kövecses,  Ipanema

In a house in Ipanema surrounded by trees and birds

         in the hot shade of afternoon

                   among familiar furniture

         in the hot shade of afternoon

                   among trees and birds

         among familiar odours

         they live their lives

         they live my life

in the shade of a hot afternoon

in the shadow of a hot afternoon

Ferreira Gullar*, 1930-2016
tr. Richard Zenith

*Exiled by the Brazilian dictatorship, 1964-85

Ferreira Gullar, 1957


Alphabetarion # Shooting stars | Elizabeth Enright, 1944

Tracks of 83 shooting stars observed at the Glasgow University Observatory, 1866

“Did you know that a bee dies after he stings you? And that there's a star called Aldebaran? And that
around the tenth of August, any year, you can look up in the sky at night and see dozens and dozens
of shooting stars?”

 Elizabeth Enright, Then There Were Five, 1944

Prot-a-gonist* Failure, Attraction & Existence | Montgomery Clift, 1920-66

Montgomery Clift

Look, I'm not odd. I'm just trying to be an actor; not a movie star, an actor.

Failure and its accompanying misery is for the artist his most vital source of creative energy.

The sadness of our existence should not leave us blunted, on the
contrary-how to remain thin-skinned, vulnerable and stay alive?

If a man don't go his own way, he is nothing.

I have the same problem as Marilyn. We attract people the way honey does bees, but they're
 generally the wrong kind of people. People who want something from us - if only our energy.
We need a period of being alone to become ourselves.

Nobody ever lies about being lonely.

Montgomery Clift reacting to his own performance in the film The Heiress, J.R. Eyerman, 1948

The thing that bugs me is the average woman's complete ignorance of the functional
purpose of cosmetics, which is to supplement, not conceal.

I have enough money to get by. I'm not independently wealthy, just independently lazy, I suppose.

The only line that's wrong in Shakespeare is 'holding a mirror up to nature.' You hold a magnifying
glass up to nature. As an actor you just enlarge it enough so that your audience can identify with the
 situation. If it were a mirror, we would have no art.       

James Dean's death had a profound effect on me. The instant I heard about it,
I vomited. I don't know why.     

Look! Look! If you look really hard at things you'll forget you're going to die.

Marlon Brando visiting Montgomery Clift on the set of From Here to Eternity, 1953

Noah, from 'The Young Lions' 1958, was the best performance of my life.
I couldn't have given more of myself. I'll never be able to do it again. Never. 
I keep my family out of my public life because it can be an awful nuisance to them.
What's my mother going to tell strangers anyway? That I was a cute baby and that she's
 terribly proud of me? Nuts. Who cares?

I don't want to be labeled as either a pansy or a heterosexual. Labeling is so self-limiting.
We are what we do - not what we say we are.

The closer we come to the negative, to death, the more we blossom. 

Montgomery Clift, 1920-66

The Heiress, 1949 / A Place in the Sun, 1951 / I Confess, 1953 / Terminal Station, 1953/ From Here to Eternity, 1953 / The Young Lions, 1958 / Suddenly, Last Summer, 1959 / Misfits, 1961 / Judgment at Nuremberg, 1961

Onslow Stevens and Montgomery Clift on Andre Birabeau's play Dame Nature, c 1945
 Montgomery Clift and Joanne Dru on the set of Red River, 1948
George Stevens, Montgomery Clift & Elizabeth Taylor on set of A Place in the Sun, 1951
 Deborah Kerr and Montgomery Clift on set of From Here to Eternity, 1953
Frank Sinatra and Montgomery Clift in From Here to Eternity by Irving Lippman, 1953
 Edward Dmytryk, Montgomery and Eva Marie Saint on the set of Raintree County, 1957
Marlon Brando, Montgomery Clift, and Dean Martin on the set of The Young Lions, 1958
 Katharine Hepburn, Montgomery Clift, and Elizabeth Taylor in Suddenly, Last Summer, 1959
 Montgomery Clift and Marilyn Monroe on the set of The Misfits, 1961
 Montgomery Clift on the set of Judgment at Nuremberg, 1961
 Montgomery Clift on the set of  Freud, The Secret Passion, 1962
Montgomery Clift

Flick Review < Suddenly Last Summer | Tennessee Williams / Joseph L. Mankiewicz, 1959

Προσωπική Εξέλιξη | Γιάννης Γκούμας, 1991

Onchi  Koshiro, Poeme No. 22, A leaf and clouds, 1953

Επινοώ ένα πουλί

που επινοεί ένα κλαδί

που επινοεί ένα φύλλο

που επινοεί έναν άνεμο

που είμαι εγώ

που στρέφομαι στον εαυτό μου

και χάνομαι.

Γιάννης Γκούμας,
Τα Πορτρέτα της Ωριμότητας, 2007

Alphabetarion # Sand | Ray Bradbury, 1955

Winslow Homer, Beach scene, 1869

“I was only twelve. But I knew how much I loved her. It was that love that comes
before all significance of body and morals. It was that love that was no more bad than
wind and sea and sand lying side by side forever. It was made of all the warm long days
 together at the beach, and the humming quiet days of droning education at the school.
All the long Autumn days of the years past when I carried her books home from school.”

 Ray Bradbury, The October Country, 1955

What I Think about the Readers | George Bernard Shaw, 1856-1950

George Bernard Shaw, floating on a diving platform, which bears the inscription 
'What I Think about the Readers', 1935

"Make it a rule never to give a child a book you would not read yourself."

"Only in books has mankind known perfect truth, love and beauty."

"What we call education and culture is for the most part nothing but the substitution of reading 
for experience, of literature for life, of the obsolete fictitious for the contemporary real."

"A book is like a child: it is easier to bring it into the world than to 
control it when it is launched there."

"Reading made Don Quixote a gentleman, but believing what he read made him mad."

"People get nothing out of books but what they bring to them."

"Censorship ends in logical completeness when nobody is allowed to read any books 
except the books that nobody can read."

"People have pointed out evidences of personal feeling in my notices as if they were accusing me 
of a misdemeanor, not knowing that criticism written without personal feeling is not worth reading. 
It is the capacity for making good or bad art a personal matter that makes a man a critic."

"How can you dare teach a man to read until you've taught him everything else first?"

"The road to ignorance is paved with good editions. 
Only the illiterate can afford to buy good books now."

"There is, on the whole, nothing on earth intended for innocent people so horrible as a school. 
To begin with, it is a prison. But in some respects more cruel than a prison. In a prison, for 
instance, you are not forced to read books written by the warders and the governor. . . .
In the prison you are not forced to sit listening to turnkeys discoursing without charm or 
interest on subjects that they don't understand and don't care about, and therefore incapable
 of making you understand or care about. In a prison they may torture your body; but they 
do not torture your brains."

"Keep away from books and from men who get their ideas from books, 
and your own books will always be fresh."

George Bernard Shaw, 1856-1950


Lady moon | Lord Houghton, 1871

Lady Moon by Lord Houghton, Child Life: A Collection of Poems, 1871

Lady Moon, Lady Moon, where are you roving?
          "Over the sea."
Lady Moon, Lady Moon, whom are you loving?
          "All that love me."

Are you not tired with rolling, and never
          Resting to sleep?
Why look so pale and so sad, as forever
          Wishing to weep?

"Ask me not this, little child, if you love me;
         You are too bold;
I must obey the dear Father above me,
         And do as I'm told.

Lady Moon, Lady Moon, where are you roving?
          "Over the sea."
Lady Moon, Lady Moon, whom are you loving?
          "All that love me."

Lord Houghton, Lady moon, 1871

Prot-a-gonist: Summer | Annette Vadim / Gene Tierney / Brigitte Bardot / Juliette Gréco / Marlene Dietrich / Marie Laforêt / Catherine Deneuve / Grace Kelly / Anouk Aimée / Charlotte Rampling / Diane Webber / Katherine Hepburn / Elizabeth Taylor

Elizabeth Taylor and Roddy Mcdowall playing on the beach, 1948
Marlene Dietrich and Charlie Chaplin, 1930                               Bette Davis celebrating on the beach, 4th of July1930  
Annette Strøyberg Vadim, sunbathing on beach at St.Tropez, 1959
Charlotte Rampling, Three, 1969
Brigitte Bardot, 1934                        Marie Laforêt, 1966
Catherine Deneuve, Biarritz, 1962
Diane Webber, 1950s
Gene Tierney, 1944                                                         Claudine Auger, 1960s
Jill Haworth, 1963
Jane Greer, 1946                                                           Anouk Aimée, Venice, 1952
Françoise Hardy
Grace Kelly, 1955                                                          Paul Newman,Venice Film Festival, 1963 
Katherine Hepburn and Joel McCrea, 1933 
  Sandie Shaw, 1967                                                                        Kirk Douglas and Brigitte Bardot, Cannes 1953
Cathy O'Donnell 
Juliette Gréco, 1950s


Book//mark -The Sense of an Ending | Julian Barnes, 2011

The Sense of an Ending | Julian Barnes, 2011

“How often do we tell our own life story? How often do we adjust, embellish, make sly cuts? And the
 longer life goes on, the fewer are those around to challenge our account, to remind us that our life is
not our life, merely the story we have told about our life. Told to others, but—mainly—to ourselves.”

“What you end up remembering isn't always the same as what you have witnessed.”

“History is that certainty produced at the point where the imperfections
of memory meet the inadequacies of documentation.”

“It strikes me that this may be one of the differences between youth and age: when we are young,
we invent different futures for ourselves; when we are old, we invent different pasts for others.”

“I certainly believe we all suffer damage, one way or another. How could we not,except in a world of
perfect parents, siblings, neighbours, companions? And then there is the question on which so much
 depends, of how we react to the damage: whether we admit it or repress it,and how this affects our
dealings with others.Some admit the damage, and try to mitigate it;some spend their lives trying to
 help others who are damaged; and there are those whose main concern is to avoid further damage to
 themselves, at whatever cost. And those are the ones who are ruthless, and the ones to be careful of.”

“The more you learn, the less you fear. "Learn" not in the sense of
academic study, but in the practical understanding of life.”

“We live in time - it holds us and molds us - but I never felt I understood it very well. And I'm not
 referring to theories about how it bends and doubles back, or may exist elsewhere in parallel
versions. No, I mean ordinary, everyday time, which clocks and watches assure us passes regularly:
tick-tock, click-clock. Is there anything more plausible than a second hand? And yet it takes only
the smallest pleasure or pain to teach us time's malleability. Some emotions speed it up, others
slow it down; occasionally, it seems to go missing - until the eventual point when it really does
 go missing, never to return.”

“Yes, of course we were pretentious -- what else is youth for?”

“We thought we were being mature when we were only being safe. We imagined we were
being responsible but were only being cowardly. What we called realism turned out to
be a way of avoiding things rather than facing them.”

“Does character develop over time? In novels, of course it does: otherwise there wouldn't be much
of a story. But in life? I sometimes wonder. Our attitudes and opinions change, we develop new
habits and eccentricities; but that's something different, more like decoration. Perhaps character
resembles intelligence, except that character peaks a little later: between twenty and thirty, say.
And after that, we're just stuck with what we've got. We're on our own. If so, that would explain
 a lot of lives, wouldn't it? And also—if this isn't too grand a word—our tragedy.”

“I know this much: that there is objective time, but also subjective time, the kind you wear on the
inside of your wrist, next to where the pulse lies. And this personal time, which is the true time,
is measured in your relationship to memory.”

“But it’s still the eyes we look at, isn’t it? That’s where we found the other person”

“When you're young - when I was young - you want your emotions to be like the ones you read
about in books. You want them to overturn your life, create and define a new reality. Later, I think,
 you want them to do something milder, something more practical: you want them to support your
life as it is and has become. You want them to tell you that things are OK. And is there anything
wrong with that?”

“This was another of our fears: that Life wouldn't turn out to be like Literature.”

“I had wanted life not to bother me too much, and had succeeded—and how pitiful that was.”

Julian Barnes, The Sense of an Ending, 2011


Investment of Power | Hannah Arendt, 1951

Hermann Glöckner, Faltgrafik 4-30a, 1977

“What imperialists actually wanted was expansion of political power without the foundation of the
 body politic*. Imperialist expansion had been touched off by a curious kind of economic crisis, the
overproduction of capital and the emergence of "superfluous" money, the result of oversaving, which
could no longer find productive investment within national borders. For the first time, investment of
power did not pave the way for investment of money, since uncontrollable investments in distant
countries threatened to transform large strata of society into gamblers, to change the whole capitalist
economy from a system of production to a system of financial speculation, and to replace the profits
of production with profits in commissions. The decade immediately before the imperialist era, the
seventies of the last century, witnessed an unparalleled increase in swindles, financial scandals,
and gambling in the stock market.”

Hannah Arendt, The Origins of Totalitarianism, 1951

*The body politic is a medieval metaphor that likens a nation to a corporation.

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